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Monday, July 1, 2013

"To a Waterfowl" A Critical Analysis

This is a critical response to the
American romantic poet William Cullen Bryant’s poem, "To a
Waterfowl." Although there is a creative use of allegory which depicts
natural objects in the narrative as being equal in meaning to themes and
subjects that are completely outside the narrative, the interplay of words,
ideas, and sentiments meld and culminate in this poem as a cohesive and
sustainable fountain of imagery that led me to deduce, quite romantically,
that, no matter how circumstances present themselves in life, every life is
directed by the providence of God. www.grammarinsurance.com

The central motive of the poem does indeed seem to be a moral teaching about
God’s benevolent providence. The waterfowl is an allegory for heartbreak.
Figuratively speaking, the bird is only used as a visual reference.
Allegorically speaking, however, perhaps to people living in the city or people
outside the confines of the church, the waterfowl may represent the struggle
every individual who has ever existed experiences in life. It seems clear to me
that the vulnerable little bird is on a journey and that he has an adversary.
This adversary, a hunter or fowler, represents the pursuing threat of death or
unknown peril. #writinghelps

Uncertainty in the form of fog alludes to obscurity “through rosy depths” and
“crimson sky,” whereas, “plashy brink” bespeaks water, peace, and contemplative
things such as choice of direction. Life’s uncertain destination, a “pathless
coast” denotes an unseen power. Is this power God? Will there be obstacles to
the objective? Intrigue is a common romantic theme, one of embarking on a
journey like a river progressing to the ocean. Any traveler is apt to
experience weariness persevering alone, outnumbered, overwhelmed, and
melancholy in the face of such adversity. “All day thy wings have fann'd.” Yet,
as night acquiesces to the dawning of day, frustration and melancholy give way
to thoughts of an end to toil and travel. The waterfowl triumphantly arrives at
a seeming place of rest, the intended destination where undoubtedly a jubilant
scream of celebration is found, albeit muted by contemplation of this illusive
achievement or arrival. www.anointedwritenow.com

Further on, a mention of toil indicates a figurative death on the horizon with
day as metaphor for life and night as that of death, the ultimate permanent end
to struggle. The bird’s flight and subsequent demise culminates in the phrase,
“swallowed up in the abyss of heaven.” Life, “thou art gone.” He who
orchestrates all life, God Almighty, from breath to breath and age to age,
through all the developmental stages of life, guides each life along its course
as He dictates. I, as the reader, was directed to look literally at natural
things but think very figuratively about the power of God exhibited in nature
with romantic allusions to the Bible through the mention of heaven and the
usage of archaic and melodious language such as “thou art gone.” One might say
that, with this poem, Bryant killed two birds with one stone. The thematic
focus begins with the bird through personification and leads progressively to
the author who learns a lesson by witnessing the bird. In this way, Bryant
makes the point that every experience counts and is significant both in nature
and in life. Hence, the poet herein makes the poem relevant to the myriad
conditions of humanity, the loneliness of both the waterfowl and the author
within the sovereign providence of God.

A comment: I have several anthologies of poetry. In some, the waterfowl is "darkly painted on the crimson sky," in others it is "darkly seen against the crimson sky." The latter seems more apt to me, since "painted on" suggests that the bird was stationary, which he obviously wasn't. I have no idea which version Bryant originally wrote.

A comment: I have two anthologies of poetry. In one, Bryant's waterfowl is depicted as "darkly painted on the crimson sky," in the other as "darkly seen against the crimson sky." The latter seems more apt to me, since "painted on" suggests that the bird was stationary, which he obviously wasn't. I have no idea which version Bryant originally wrote. Does anyone know?